Copyright 2013
Winnipeg Underground Film Festival
June 1 to 4th, 2017

FIREWORKS INDOORS // 10pm, June 3rd
At the Rachel Browne Theatre (2nd Floor, 211 Bannatyne Ave)

I KEEP MY EYES WIDE OPEN ALL THE TIME. A collection of films and videos that were destined to be viewed through 3D Fireworks™ Glasses, even if that was never the intent of their makers. These eye-opening specs have specially treated lenses that enhance fireworks shows, laser displays, holiday lights, and avant-garde cinema ... well, at WUFF at least. Multi-starbursts of three-dimensional rainbows will race at you, sending chills up your spine and boggling your mind. Unabashed visual consumption; a full bag of high-contrast eye candy - treat yourself! This short program will also be preceded by a live analog audio/video performance for two projectors by Colby Richardson. This program contains rapid movement and flashing light. New and gently used work from Canada, Austria, Germany, Japan, The United Kingdom and the United States.


PAN/SCAN dir. Colby Richardson (aka. COLBY DIGITAL 5.1)
2017 | CA | 15 | 2 x video projection performance | World premiere
Two overlapping digital projectors transform video scan lines into stereo audio. A live audio/visual performance exploring video feedback as surround sound. -CR

filament studies dir. Libi Rose Striegl
2014 | US | 3 | 16mm on video
An examination of imperfect translation, of the digital/physical gap, and of falling somewhat short of aspirations. An ode to tech-nostalgia and experimental processes of all sorts. A love song to the changing nature of the hand-made. 16mm film was modeled and 3D printed in various colors and at various thicknesses. That 3D printed 16mm film was then digitally photographed for animation using a JK optical printer. -LS

Wipe Poem dir. Chris King
2013 | UK | 2 | video
A little video using mostly standard wipes to generate both the imagery and audio. Light and dark content of the signal directly influence pitch and wave shape, the sound of the video signal was also processed through audio effects controlled live in parallel to the wipes and video effects. -CK

Fuddy Duddy dir. Siegfried A. Fruhauf
2016 | AT | 5.5 | video | Canadian premiere
Fuddy Duddy uses the motif of the grid to blow it to pieces. Being occupied with structural film, I repeatedly draw "frame plans," using grid structures to precisely record the succession of individual images. To me this sometimes seems like a search for structures in an apparently chaotic world. The medium of film fulfills the need for orientation. So then, it isn't merely a personal preference for a certain working method.  -SF

Convolve dir. Colby Richardson
2016 | CA | 3.5 | super 8mm on video
Shot on super 8 with in-camera edits, Convolve transforms pages from Greg Bright’s Fontana Mazes into a convoluted passage, using prisms, water refractions, and warped chrome to obscure the already obscured path of The Maze. The score is created by taking an analog-video feed of the projected film, and using the video output of the camera as an audio input. The black and white lines from the mazes sculpt the tone and structure of the audio in real-time, resulting in a jarring, alien soundscape. -CR

American Discotheque Number One dir. Deron Williams
2011 | US | 2 | video
A Celebration (of sorts) as artist and audience share a singular moment of unabashed visual and aural consumption. -DW

Shutter Utter dir. Matt Rossoni
2015 | US | 6 | video | Manitoban premiere
An empty 16mm film projector is digitally photographed and brought into the digital domain. Video acts as a kind of microscope, revealing hidden pleasures that were present at this time. -MR

Trans/Figure/Ground dir. Lauren Cook
2016 | US | 5.5 | video | Manitoban premiere
Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital. A film about uncanny valleys and the space between. -LC

Katagami dir. Michael Lyons
2016 | JP | 3.5 | super 8mm on video | Manitoban premiere
Animation made by photographing and rephotographing antique kimono resist-dyeing stencils in positive and negative. Spatial shifts and variations in the repeating pattern elements generate apparent motion. Photographed on super 8 and hand-developed using matcha (powdered green tea). -ML

Thompson dir. Mike Maryniuk
2011 | CA | 2.5 | video
Hypnosis Highway. The effects of drinking magical ditch water near the Thompson Crystal Smelter. Shot and edited in a truck on the way to Lynn Lake, Manitoba, near Thompson. This is exactly how the passing trees look after 10 hours. -MM

Black Rectangle dir. Rhayne Vermette
2013 | CA | 1.5 | 16mm on video
“Time has not been kind to Kasimir Malevich’s painting, Black Square. In 1915 when the work was first displayed the surface of the square was pristine and pure; now the black paint has cracked revealing the white ground like mortar in crazy paving.” -Philip Shaw. This film documents a tedious process of dismantling and reassembling 16mm found footage. The film collage imitates functions of a curtain, while the recorded optical track describes the film’s subsequent destruction during its first projection. -RV

Sync dir. Max Hattler
2011 | DE | 9 | video | Manitoban premiere
Sync is based on the idea that there is an underlying, unchanging synchronization at the center of everything; a sync that was decided at the very beginning of time. Everything follows from it, everything is ruled by it: all time, all physics, all life. And all animation. -MH

BLOPS dir. John Klacsmann
2014 | US | 3 | 16mm | Manitoban premiere
… an anxious animation. -JK

* images from Michael Lyons' Katagami (top) and Rhayne Vermette's Black Rectangle (bottom)